혁명과 발레 : 소비에트 혁명발레 유산의 재조명

다국어 초록 (Multilingual Abstract)

This paper examines the changes witnessed in the field of ballet during the post-Revolution period from the late 1920s to 1930s with a focus on the Russian Revolution in 1917 from the perspective of continuity with the Soviet Union`s revolution ideology and highlighted significance of ballet in the revolutionary period from the contemporary context. During the early 20th century, the beginning of the Revolutionary Period, Russian ballet was regarded as a component of totalitarian culture and was in danger of being abolished. To overcome such a gloomy outlook, ballet masters, including Tihomirov, Lachlin, Goleizovsky, and Lopukhov, explored new modes of ballet. Their attempts helped open the door to proletariat ballet which focused on the lives of the public, and targeted the public as the audience. Through their efforts, ballet was brought back to the hands of the public who were not able to afford the extravaganza called `ballet` in their daily lives. The novel modes of ballet, as created by those ballet masters, were characterized by the tendency to return to classical ballet modes, the adoption of acrobatic choreography, and a collective ideology. The distinct features of Soviet ballet had a tremendous influence on the Moscow Bolshoi Ballet, which was led by Yuri Grigorovich in the period that followed (1960s to 1980s), in its endeavor to build unique creative world. Therefore, the exploration of the Soviet ballet aesthetics in this study would be indispensable for understanding the aestheticism of Russia`s Bolshoi ballet, which has played a pivotal role in world ballet to date, by going beyond the contemplation of the ballet of the past.

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